scholarly journals Let’s play together: teacher perspectives on collaborative chamber music instruction

2021 ◽  
pp. 1-15
Author(s):  
Jon Helge Sætre ◽  
Katie Zhukov
Keyword(s):  
Chamber Music ◽  
Teacher Perspectives ◽  
Music Instruction

“Play with me”: Student perspectives on collaborative chamber music instruction

2021 ◽  
pp. 1321103X2097480
Author(s):  
Katie Zhukov ◽  
Jon Helge Sætre
Keyword(s):  
Higher Education ◽  
Chamber Music ◽  
Positive Impact ◽  
Pilot Project ◽  
Music Instruction ◽  
Student Focus ◽  
Music Community ◽  
Viable Approach ◽  
Education Performance ◽  
The Impact

This article reports on a pilot project conducted in Australia and Norway evaluating new approaches to collaborative chamber music instruction in higher education settings. Following suggestions from the literature on collaborative and group learning in music, chamber music tuition was chosen as a suitable context to examine the possibility of teaching-through-playing and the impact of such an approach on students’ collaborative learning and their induction into the professional music community. Two groups of staff and students in each institution volunteered to participate in the project and implemented their own rehearsal schedule. Student focus group interviews were conducted after the final performance of rehearsed repertoire, and transcripts were analyzed by two researchers independently for the emerging themes and refined through iterative discussions. Key findings include students being inspired by working with experienced staff in a professional setting, learning the skills of ensemble playing such as effective rehearsal techniques, understanding of stylistic conventions, specific technical, musical and co-ordination skills, greater experimentation, positive impact of group discussions, and a more collaborative atmosphere. Students found it challenging to alter power roles, as the ingrained attitudes of teacher-led approaches prevailed. This project has shown that teaching-through-playing chamber music is a viable approach for developing students’ musical and social skills by providing them with authentic professional experiences. We propose an alternative model of higher education performance teaching that is more collaborative and participatory.

Pablo Neruda's Transnational Modernist Networks: Colombo-Madrid-London-Buenos Aires (1927–1933)

2017 ◽  
Vol 12 (2) ◽  
pp. 198-225
Author(s):  
Patricia Novillo-Corvalán
Keyword(s):  
Chamber Music ◽  
Latin American ◽  
Buenos Aires ◽  
Cultural Institutions ◽  
Complex Composition ◽  
British Colonial ◽  
The One ◽  
Composition Process ◽  
In Transit ◽  
Standing Question

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925–1931 and published in 1933) as a ‘text in transit’ that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente (The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations.

Korngold and His World

2019 ◽  
Keyword(s):  
Chamber Music ◽  
Musical Theater ◽  
Musical Language ◽  
American Film ◽  
Popular Song ◽  
Film Scores ◽  
Hollywood Film ◽  
English Translations ◽  
Erich Wolfgang Korngold ◽  
American Popular Song

Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.

36. Practicing medicine and music II: Ophthalmology and music

2007 ◽  
Vol 30 (4) ◽  
pp. 46
Author(s):  
L. P. Hwi ◽  
J. W. Ting
Keyword(s):  
Chamber Music ◽  
18Th Century ◽  
Johann Sebastian Bach ◽  
Active Member ◽  
Active Researcher ◽  
Silver Medal ◽  
Medical Career ◽  
The One ◽  
The University ◽  
Over 40 Years

Cecil Cameron Ewing (1925-2006) was a lecturer and head of ophthalmology at the University of Saskatchewan. Throughout his Canadian career, he was an active researcher who published several articles on retinoschisis and was the editor of the Canadian Journal of Ophthalmology. For his contributions to Canadian ophthalmology, the Canadian Ophthalmological Society awarded Ewing a silver medal. Throughout his celebrated medical career, Ewing maintained his passion for music. His love for music led him to be an active member in choir, orchestra, opera and chamber music in which he sang and played the piano, violin and viola. He was also the director of the American Liszt Society and a member for over 40 years. The connection between music and ophthalmology exists as early as the 18th Century. John Taylor (1703-1772) was an English surgeon who specialized in eye diseases. On the one hand, Taylor was a scientist who contributed to ophthalmology by publishing books on ocular physiology and diseases, and by advancing theories of strabismus. On the other hand, Taylor was a charlatan who traveled throughout Europe and blinded many patients with his surgeries. Taylor’s connection to music was through his surgeries on two of the most famous Baroque composers: Johann Sebastian Bach (1685-1750) and George Frederick Handel (1685-1759). Bach had a painful eye disorder and after two surgeries by Taylor, Bach was blind. Handel had poor or absent vision prior to Taylor’s surgery, and his vision did not improve after surgery. The connection between ophthalmology and music spans over three centuries from the surgeries of Taylor to the musical passion of Ewing. Ewing E. Cecil Cameron Ewing. BMJ 2006; 332(7552):1278. Jackson DM. Bach, Handel, and the Chevalier Taylor. Med Hist 1968; 12(4):385-93. Zegers RH. The Eyes of Johann Sebastian Bach. Arch Ophthalmol 2005; 123(10):1427-30.

“Little Trio” for clarinet, bassoon and piano

2018 ◽  
pp. 75-79
Author(s):  
N. Yakovchuk
Keyword(s):  
Chamber Music ◽  
Instrumental Music ◽  
Instrumental Ensemble ◽  
Interesting Phenomenon ◽  
Theoretical Understanding ◽  
Classical Traditions ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Written Compositions ◽  
First Time

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

scholarly journals Coping with English for Academic Purposes Provision during COVID-19

2021 ◽  
Vol 13 (15) ◽  
pp. 8642
Author(s):  
Lucas Kohnke ◽  
Andrew Jarvis
Keyword(s):  
Hong Kong ◽  
Collaborative Learning ◽  
Online Teaching ◽  
Qualitative Case Study ◽  
English For Academic Purposes ◽  
Teacher Perspectives ◽  
Case Study Approach ◽  
Study Approach ◽  
University Studies

COVID-19 and the shift to online teaching necessitated a change in approach for English for Academic Purposes (EAP) teachers in preparing their students for university studies. This study explored how EAP instructors coped with and adapted their provision for emergency remote teaching. The study was conducted at an English-medium university in Hong Kong and a qualitative case study approach was adopted. The results revealed two overarching themes of opportunity and challenge. While the sudden shift to online teaching forced innovation and fostered collaborative learning and feedback, teachers experienced difficulties in communicating with students and monitoring their learning. The study voices teacher perspectives in delivering EAP courses online and highlights important implications for the successful delivery of future online EAP provisions.

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